In
Dressed as in a Painting, Kimberly Wahl provides a lucid exploration of the interrelations between fashion, art, and Aestheticism during the latter half of the nineteenth century. Although artistic forms of dress have been the subject of short studies before, no book has focused exclusively on Aesthetic dress and its various expressions in the visual cultures of Victorian Britain. More important, no book has attempted to investigate the gap between the material facts of artistic clothing as it was embodied on the wearer, and its presence as an idealized sartorial trope in the visual and textual print culture of the period.
The impact of the Aesthetic movement on women and women's fashion
"[An] excellent study. . . . Scholarly literature on women and aestheticism is enriched by
Dressed as in a Painting: Women and British Aestheticism in an Age of Reform."--
Studies in English Literature "If Aesthetic dress could stand simultaneously for sensibility and objectification, historical nostalgia and modernist reform, commodity culture and the rarefied realm of high art, Wahl demonstrates that as worn by women artists, patrons, and art viewers at the Grosvenor Gallery and beyond, it ultimately represented and enabled both cultural critique and a 'flowering of female creativity.' Dressed as in a Painting offers a vital foray into the creative acts of Victorian women."--Alison Syme, author of A Touch of Blossom: John Singer Sargent and the Queer Flora of Fin-de-Siècle Art